Criterion has put together a collection of marital tales, most of which aren’t going to inspire you to jump to propose any time soon: the ones who stay together are miserable (or, in one case, possibly a fantasy), those who part do so in a morass of bigamy, infidelity and acrimony.
If you absolutely have to see one dysfunctional family drama this year, you could do worse than This Is Where I Leave You.
TIFF didn't announce an opening night film alongside today's announcements of Galas and Special Presentations for their 2014 festival this September, but they announced plenty to get people excited for the event.
The stories of episode three continue to be removed from the flash-forward mystery conflict seen in the season two premiere of The Newsroom. Much like last week’s episode, the show forces us to ‘...wait for it’ without even knowing what ‘it’ is. That being said, there are still some fun moments.
The new season of HBO’s The Newsroom is up and running, and the second episode, "The Genoa Tip," is principally spent maneuvering us towards the season’s larger ongoing stories. We get some long-overdue progress in the Jim-Maggie-Don love triangle, more of intrepid-as-opposed-to-incompetent reporter Neal Sanpat, and more than one genuinely fun scene featuring Sloan.
While The Newsroom's first season often mistook ripped from the headline fact for character and simplistic moralizing for profundity, having watched the first four episodes of season two we are happy to report that showrunner Aaron Sorkin seems to have fixed many of the problems that plagued the first season... and in a few cases replaced them with all new problems.
Episode four of Aaron Sorkin’s The Newsroom, "I’ll Fix You," is a fairly engaging episode which delves the furthest into Will’s personal and emotional life thus far. Despite the strong character moments for McAvoy though, it's beginning to seem as though the female characters on The Newsroom exist pretty much only to instigate plot.
In many of the series reviews I've read of The Newsroom, critics unanimously declared that the pilot, "We Just Decided To," was the strongest of the first four episodes. For me, however, this Sunday's episode, "The 112th Congress," is easily Sorkin's strongest stuff thus far, at least partly because of the episodes effective structural reliance on a device that Sorkin memorably used in David Fincher's The Social Network.